Windmills of my mind – view topic escoliosis causas trumpet herald forum

Having the sound in mind (not just pitch, but the whole sound) is critical in playing, at least for me, and a tenant of the chicago school of playing. "Hear it, play it" is worth striving for. The notes on a page are more likely to sound escoliosis causas good coming out the bell if you are thinking about escoliosis causas the sound of a nice full G on top of escoliosis causas the staff than if you are thinking of a black escoliosis causas note named G sitting at the top of the staff. And sight reading is waaay easier IME if you can escoliosis causas "hear" the notes on the page in front of you.

When I’m playing best, the sound in my imagination (pitch, timbre, color, articulation) is almost as intense and vivid as the sound in escoliosis causas the room. It happens before and during notes and allows me to escoliosis causas adjust the room sound to match my idealized sound in escoliosis causas my imagination. It takes a ton of focus but I find it’s worth it. It’s certainly a practiced skill.

Since few of us are born with “perfect pitch”, and we all have different levels of natural abilities, understanding intervals, and what they sound like (ie, a perfect fourth is a perfect fourth, generally) is really valuable especially for a brass player. It’s common sense, if i’m playing, say, third space C, the next note is top line F, knowing what a fourth sounds like makes it much more escoliosis causas likely that I won’t frack the note.

You don’t feel sound, but you do feel how much effort it takes to escoliosis causas play a C in the staff as opposed to a escoliosis causas C or G above the staff. I did say it takes hearing the note and feeling escoliosis causas the note (muscle memory). So billy, tell me how can you play a note without knowing escoliosis causas how it feels on your embouchure? I say it takes both,not only one.

You don’t feel sound, but you do feel how much effort it takes to escoliosis causas play a C in the staff as opposed to a escoliosis causas C or G above the staff. I did say it takes hearing the note and feeling escoliosis causas the note (muscle memory). So billy, tell me how can you play a note without knowing escoliosis causas how it feels on your embouchure? I say it takes both,not only one.

You don’t feel sound, but you do feel how much effort it takes to escoliosis causas play a C in the staff as opposed to a escoliosis causas C or G above the staff. I did say it takes hearing the note and feeling escoliosis causas the note (muscle memory). So billy, tell me how can you play a note without knowing escoliosis causas how it feels on your embouchure? I say it takes both,not only one.

May I step in?! Following our discussion – hearing/feeling/imagining the tone (and how we play it, duration, attack, warmth etc etc) in question eventually ending up as a practiced habit – it would be fair to assume that we have a escoliosis causas multitude of feedback loops at work. They should encompass different senses, certainly muscles, tongue position, lip tension, you name them. While becoming a practiced habit I guess all this sooner escoliosis causas or later will become more or less sub-conscious – only surfacing in times of stress, fatigue creeping up etc .

And a "running in" period during which we learn, more or less consciously what minute new feedback loops are escoliosis causas at work. Playing say a high C on your new horn may escoliosis causas require some adjustments in comparison to your old one. The tonal quality/effort etc may differ and this has to be learned! And so on.

You don’t feel sound, but you do feel how much effort it takes to escoliosis causas play a C in the staff as opposed to a escoliosis causas C or G above the staff. I did say it takes hearing the note and feeling escoliosis causas the note (muscle memory). So billy, tell me how can you play a note without knowing escoliosis causas how it feels on your embouchure? I say it takes both,not only one.

May I step in?! Following our discussion – hearing/feeling/imagining the tone (and how we play it, duration, attack, warmth etc etc) in question eventually ending up as a practiced habit – it would be fair to assume that we have a escoliosis causas multitude of feedback loops at work. They should encompass different senses, certainly muscles, tongue position, lip tension, you name them. While becoming a practiced habit I guess all this sooner escoliosis causas or later will become more or less sub-conscious – only surfacing in times of stress, fatigue creeping up etc .

And a "running in" period during which we learn, more or less consciously what minute new feedback loops are escoliosis causas at work. Playing say a high C on your new horn may escoliosis causas require some adjustments in comparison to your old one. The tonal quality/effort etc may differ and this has to be learned! And so on.

You don’t feel sound, but you do feel how much effort it takes to escoliosis causas play a C in the staff as opposed to a escoliosis causas C or G above the staff. I did say it takes hearing the note and feeling escoliosis causas the note (muscle memory). So billy, tell me how can you play a note without knowing escoliosis causas how it feels on your embouchure? I say it takes both,not only one.

You don’t feel sound, but you do feel how much effort it takes to escoliosis causas play a C in the staff as opposed to a escoliosis causas C or G above the staff. I did say it takes hearing the note and feeling escoliosis causas the note (muscle memory). So billy, tell me how can you play a note without knowing escoliosis causas how it feels on your embouchure? I say it takes both,not only one.

You don’t feel sound, but you do feel how much effort it takes to escoliosis causas play a C in the staff as opposed to a escoliosis causas C or G above the staff. I did say it takes hearing the note and feeling escoliosis causas the note (muscle memory). So billy, tell me how can you play a note without knowing escoliosis causas how it feels on your embouchure? I say it takes both,not only one.

Maybe the following example shows some ingredients at work: beginning seventies in a swingband, we were about to play an arrangement on donâ´t get ´round much anymore. Trombone section began with some interval down ("do daaa"), I think a fifth, to G – then the trumpets were supposed to step in, me on top B C C# D ("dododoodot"). But this time the bone guys raised to an A! What happened? I used the usual valve combination beginning on 2 and escoliosis causas so on. But to my utter amazement (and big disappointment in the bone section) what came out was C# D D# E!

At the time I had been playing about 14 years, almost 50 years before my first formal lessons. Clearly my sense of pitch made my day at this escoliosis causas particular occasion. Also three powerful trombones laying down such an explicit "playground" helped. And of course, in this register itâ´s fairly easy to play "all sorts" of notes on whatever valve combination. But I´ll never forget the odd feeling.

You don’t feel sound, but you do feel how much effort it takes to escoliosis causas play a C in the staff as opposed to a escoliosis causas C or G above the staff. I did say it takes hearing the note and feeling escoliosis causas the note (muscle memory). So billy, tell me how can you play a note without knowing escoliosis causas how it feels on your embouchure? I say it takes both,not only one.

Maybe the following example shows some ingredients at work: beginning seventies in a swingband, we were about to play an arrangement on donâ´t get ´round much anymore. Trombone section began with some interval down ("do daaa"), I think a fifth, to G – then the trumpets were supposed to step in, me on top B C C# D ("dododoodot"). But this time the bone guys raised to an A! What happened? I used the usual valve combination beginning on 2 and escoliosis causas so on. But to my utter amazement (and big disappointment in the bone section) what came out was C# D D# E!

At the time I had been playing about 14 years, almost 50 years before my first formal lessons. Clearly my sense of pitch made my day at this escoliosis causas particular occasion. Also three powerful trombones laying down such an explicit "playground" helped. And of course, in this register itâ´s fairly easy to play "all sorts" of notes on whatever valve combination. But I´ll never forget the odd feeling.

You don’t feel sound, but you do feel how much effort it takes to escoliosis causas play a C in the staff as opposed to a escoliosis causas C or G above the staff. I did say it takes hearing the note and feeling escoliosis causas the note (muscle memory). So billy, tell me how can you play a note without knowing escoliosis causas how it feels on your embouchure? I say it takes both,not only one.

Maybe the following example shows some ingredients at work: beginning seventies in a swingband, we were about to play an arrangement on donâ´t get ´round much anymore. Trombone section began with some interval down ("do daaa"), I think a fifth, to G – then the trumpets were supposed to step in, me on top B C C# D ("dododoodot"). But this time the bone guys raised to an A! What happened? I used the usual valve combination beginning on 2 and escoliosis causas so on. But to my utter amazement (and big disappointment in the bone section) what came out was C# D D# E!

At the time I had been playing about 14 years, almost 50 years before my first formal lessons. Clearly my sense of pitch made my day at this escoliosis causas particular occasion. Also three powerful trombones laying down such an explicit "playground" helped. And of course, in this register itâ´s fairly easy to play "all sorts" of notes on whatever valve combination. But I´ll never forget the odd feeling.

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